Problem Analysis and Root Cause Analysis These 2 types of analysis raise doubts in many business analysts. Aren’t Problem analysis and Root Cause analysis quite identical? Don’t we use root cause analysis when solving problems? Then what’s the difference between them? This blog explains both in details... https://qoo.ly/3bqr77

October - December ‘16 - scans and edits for solo show printing - curation and launch of TAYTV Exhibition - have Prince / Bad Things ready to send to print - launch party/ies - apply as writer / contributor / assistant to magazines (work from home) January ‘17 - March - solo show - apply for internships, if xp not already gained

PUTTING TOGETHER A WEBSITE  [why it would be useful] - A more “professional” platform than Tumblr. - Easily identifiable bodies of work, links to other social media platforms. - Relatively cheap (free Wix trial, purchase domain name). - Reflection of contemporary practice. - Additional online presence, opportunity to reach a wider audience. [things to include on the website] - An eye-catching homepage / banner image, archetypal of oeuvre. - Links to current / ongoing / upcoming bodies of work. - A link to my BigCartel store, where I can sell zines and prints. - A blog? E.g. book reviews, artist interviews. - “Contact” section, with various contact details - CV / List of exhibitions & publications. - “About Me”, as I am a person as well as a photographer.

PERSONAL PROMOTIONAL STRATEGIES (INSTAGRAM, LINKEDIN, BIGCARTEL & ORDER FROM SUB-EDITOR OF PYLOT MAGAZINE)      I try to remain active on more photography-related social media sites such as LinkedIn and Instagram, where I keep followers up to date with my work (professional) and life (personal) respectively. I also promote my BigCartel page where people can purchase a copy of my self-published zine.      One morning, I woke up and shortly after received an email from BigCartel about a new order, from a “James Ross”, under the email address “[email protected]”. PYLOT Magazine is my favourite contemporary publication, and I know the editor’s name is Max (Barnett). Quickly checking an issue, I discovered James Ross is the sub-editor.      So, my favourite photography publication had just purchased a zine from me out the blue, which is most likely driven from my Instagram (where I promote my work, along with Tumblr and Facebook). It was quite odd to consider that you never really know who’s looking at your work; in which case, your online presence should be the ideal of how you want to be presented.      Not to quote American Beauty’s Buddy Kane, but “in order to be successful one must project an image of success at all times”. Right?

     I asked two friends to proof read my CV and notify me of anything they would change. One mentioned the layout needed changing, along with a couple sentence structures (though the general content was okay). As such, I plan on contacting someone with more design experience for assistance.      Cover letters would be made and fine-tuned toward whichever magazine I am applying to. For example, I would refer to articles and editorials specific to the magazine-in-question in an attempt to express my awareness.

I read that when you started your journey to America, it was the first time you’d really picked up your camera since graduating. How did you creatively spend your time when not actively taking photographs? If I'm honest after graduation and all the final hand ins I was ready for a little break, well a breather if you like. I even struggled before my final end of year project (In Bloom), I lost my 'mojo' almost, it took me a while to find something I was motivated to make. I don't even feel like it's a bad thing, it made the world of difference to me when I was in America as I actually wanted to produce work, I re-found my style. Obviously in that summer after I finished uni id still visit galleries and exhibitions, constantly reading articles and spying new photographers, I was still in the loop, still educating myself, I was just not practically involved. What are the most pertinent skills you’ve taken from your degree and applied to your practice? I must admit I just had to look up what the word 'pertinent' actually means. I guess the social aspect of the degree made a huge difference to me, being within such an active art environment real encouraged me to speak with other like minded people, something which is so easy to take into the post grad world. Obviously it's a lot harder now, having a full time job and not having as much time as I'd like to spend on my work you have to make the most of those situations to speak with people, make those connections early on. It's not easy within the art industry to make something of yourself and your work, you have to really be motivated. I guess the practical side of the degree came with time, I started in first year with no real knowledge of the darkroom, studio set up, and I'd never shot a roll of film. And now all I shoot is film, I love the process more than anything. I guess that's what I'm most thankful for from my three years at LCA. You said you plan to return to the States. Will you be extending the project or expanding from it? Yeah, I definitely wish to return. Right now I can't say I'd extend the project, I'm chuffed with how the book turned out and how I rounded the project off. It will be a whole new trip, with different people and places, and I'll most probably have a different eye by then too, obsessed with a different visual. Plus it's exciting to begin a new project. “You’re in America now, Honey”, as far as I’m aware, only really materialised after your travels had come to an end. How would you compare the process and outcome of a project approached with an objective mind set to one - such as your latest zine - with subconscious motives and spontaneity? I guess with the projects that I set out to do I already have in mind what I’m trying to say, so it's considered within the frame before anything. There's so much more to consider from the offset. Like for instance my 'In Bloom' project, I was trying to keep a similar aesthetic throughout, similar way of framing each photo to keep a project linear. Which obviously isn't the case with my recent book, I was able to have a lot more fun with the making of the book itself as that's where I genuinely pulled the project together. Before that it was just a way for me to enjoy photography again, I never imagined to have enough photos for even a small project never mind a book. It was heartwarming surprise for me. Either way if you're happy with the outcome I don't think it really matters where it stems from. [analysis]      There were certainly a few key learning points from my interview with Hannah Platt: firstly, I learned to consider how creative blocks or breaks can be a good thing and help develop your perception of the world, personally and photographically. However, keeping “in the loop” is important. Hannah continued to visit gallery exhibitions, artist talks and reading magazines to keep informed about her practice, even if she wasn’t creating at that moment - something I definitely agree is key to remaining relevant as a contemporary lens based practitioner.      Another point Hannah made was to make connections early on; that is, to make the most of the social aspects synonymous with university. She mentioned how, with a full-time job, there is less time to not only create, but also network as she used to when fully-immersed in her creative practice. This is something I feel I have taken relatively well, with solid collaborative relationships amongst fashion students and also trying to get my work noticed on a local and global level.      One final nugget of wisdom came as she closed the interview, saying “if you’re happy with the outcome, I don’t really think it matters where it stems from”. I can sort of relate: often I generate ideas by mind maps, sometimes I just listen to music and feel inspired, and sometimes a random thought enters my head whilst I take a piss. But, who needs to know, when the work should ideally speak for itself.